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Showing posts with label morgantina. Show all posts
Showing posts with label morgantina. Show all posts

January 27, 2016

J. Paul Getty Museum Returns a Terracotta Head Depicting the Greek God Hades to Sicily


Greek god Hades, Morgantina Italy about 400 - 300 B.C.
Terracotta and polychromy 10 ¾ x 8 1/16 x 7 5/16 in
After nearly three years of back and forth, sometimes heated, oftentimes complicated due to regional Italian politics, the J. Paul Getty Museum in Malibu is finally set to return a terracotta head depicting the Greek god Hades.  The object had been irrefutably determined to have been clandestinely excavated, most likely from the Morgantina sanctuary of Demeter and Persephone in the Province of Enna, Sicily in 1978. 

According to the Getty's website, the statue head was acquired between 1982 - 1985.  By chance or luck, the Hades head matched a small fragment left behind in the Sicilian dirt: a little curly spiral painted with strokes of the same bright Egyptian blue as appears on the head's beard.  Most likely the curl detached from the head's beard while being looted from the sanctuary, were it was found by the archaeological team just after discovering the illicit digging.  

The bust was purchased by the museum for $530,000 from New York collector Maurice Tempelsman who had, in turn, purchased the object from British art dealer Robin Symes. For three decades prior to his death, Symes was once one of London’s most successful antiques dealers. Both Tempelsman and Symes are both known to have been conduits for tainted objects, laundered via local fences and high level antiquities dealers through to wealthy collectors or museums who then seemingly willingly purchased the illicit antiquities with limited or no collection history when building antiquities collections.

In a ceremony held in California at the John Paul Getty Museum, in the presence of Antonio Verde, the Consul General of Italy in Los Angeles,  Francesco Rio, the Chief Prosecutor for the Italian state and Major Luigi Mancuso of the Italian Carabinieri's Art Crimes Squad, the USA museum formally relinquished the ancient object which dates back to 400-300 BCE. 

The sanctuary of Persephone and Demeter
at the ruins of Morgantina, just outside Aidone.
The head will be flown back to Italy on Friday, January 29, 2016 where it will be reabsorbed into the collection at the Museo Archeologico di Aidone Once in Sicily it is to be reunited with another once-looted object, repatriated from the Getty in 2011, the cult statue of a Goddess, also known as the Morgantina Venus.  Like the Hades head being repatriated this week, the 2.3 meter tall limestone and marble statue is thought to have been excavated illegally in Sicily between 1977 or 1978 from, or near the ruins of the fifth- to first-century BCE town of Morgantina. This statue, like the Hades head, found its way to the California museum having passed through the hands of sicilian-based looters working through a network that lead through the London dealer Robin Symes. 

The province of Enna contains more than two hundred registered and surveyed archaeological sites in addition to a high number of places known only to the area's tombaroli (illegal diggers).  Spoken about in the writings of Cicero, Claudianus, Diodorus Siculo, and Livy, the ancient remains of the place give strong testimony to the vibrant life of the ancient populations of the island of Sicily, from the beginnings of the island's habitation through the great migrations of the Paleolithic epoch, up through the Middle Ages.  

Of the ancient artworks recovered by the Comando Carabinieri Tutela Patrimonio Culturale, nearly two out of three are reported to have come from this one Sicilian province.  Few leave behind curly clues with which to identify objects as being looted. 


References
Gill, D. W. J., and C. Chippindale. 2007. "From Malibu to Rome: further developments on the return of antiquities." International Journal of Cultural Property 14: 205-40.

Raffiotta, S. "Una divinitĂ  maschile per Morgantina." CSIG News. Newsletter of the Coroplastic Studies Interest Group, no. 11, Winter 2014, pp. 23-26.

May 29, 2011

ARCA Blog Interviews Jason Felch, co-author of "Chasing Aphrodite"

Getty Goddess now home/
Chasing Aphrodite
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

ARCA Blog: How did you feel, being so close to this story, seeing "Aphrodite" being returned to her homeland? Did you understand more about the statute by visiting the area she came from?
Jason: We were thrilled to be able to attend the inauguration of the Getty goddess in her new home in Aidone, Sicily. For both Ralph and me, the trip -- which coincided with the release of Chasing Aphrodite -- really brought a feeling of closure to our own "chase," which began more than six years ago. Seeing the goddess -- can't really call her Aphrodite anymore -- in Sicily brought up some bittersweet feelings. The archaeological museum there sees about 17,000 visitors a year, far fewer than the 400,000 than visit the Getty Villa. Sicilian officials are hoping the goddess' return will change that, but certainly fewer people will see her now, and LA has lost an important masterpiece. That said, it was VERY powerful to see the statue in her new context, a stone's throw from Morgantina, the Greek ruins from where she was looted in the late 1970s. Surrounded by eerily similar figures depicting the fertility goddesses Persephone and Demeter, the statue takes on a startling new meaning.
ARCA Blog: What do you think we can expect from the Getty's new chief, James Cuno, author of "Who Owns Antiquity? Museums and the Battle Over Our Ancient Heritage?" What do you think the Getty is saying here with the appointment of Cuno?
Jason: The Getty made a very curious choice with Jim Cuno. On the one hand, he's an obvious candidate and a widely respected figure in the museum world. But on the issue he is most passionate and outspoken about, he is on the opposite end of the reformed Getty, which really has been leading reform efforts on the antiquities issue. In recent years, particularly after Phillip de Montebello stepped down at the Met, Cuno has been the leading voice for a position that has fewer and fewer supporters. Why would the progressive Getty chose such a regressive leader? From speaking with Cuno and several board members involved in the decision, it sounds like he was selected for everything except his views on antiquities collecting. Neil Rudenstein, who as President of Harvard was Cuno's boss for a time, said he personally disagrees with Cuno on that issue but thinks he'll nevertheless make a good chief executive of the Trust. Cuno himself has said he'll honor (and keep) the Getty's acquisition policy, which bars acquisitions of antiquities unless they have clear provenance dating to 1970. So we'll have to wait and see. Will the Italians curb the generosity of their loans? Will the Getty find ways to wiggle around its strict policy? Or by hiring Cuno, has the Getty cleverly "co-opted" one of the biggest opponents to to reform in this area? Time will tell. Meantime, I'd watch closely to see who Cuno chooses as the Getty's new museum director...and who that person chooses as the museum's antiquities curator.
ARCA Blog: Since I remember her even at the old Getty Villa in Malibu, I was a bit sorry to see "Aphrodite" leave Southern California. Did you become attached to her while you were researching your book?
Jason: Frankly, I never found the goddess to be the most beautiful of the objects at the Getty. In my view, she is far more important than she is beautiful, and that importance was largely squandered during her 22 years at the Getty -- she was almost entirely ignored by the scholarly community, thanks in large part to her scandalous past. Now that she's back in Sicily, I hope to see a new wave of scholarship that tries to restore her context and meaning. I feel more wistful about some of the other masterpieces the Getty returned -- the amazing griffons that adorn the cover of our book, the golden funerary wreath that may have rested on the head of a relative of Alexander the Great. Those are objects I'll miss seeing regularly. 
Reception in Aidone, Italy 
ARCA Blog: When you were in Italy, did you wonder if anyone in the crowd had made money from selling "Aphrodite" to the Getty? How well were you able to explain this transaction in your book?
Jason: Yes, there is plenty of irony here. In effect, the goddess has been returned to those who looted her, broke her into pieces and smuggled her out of the country for profit. Aidone is a very small town, and I was told that several of the locals who attended the ceremonies used to be clandestini -- the Sicilian term for looters. In reporting the book, we were able to recreate some of the illicit journey the goddess took from Morgantina to the Getty -- where it was found; how it was broken and smuggled out of the country to Chiasso, Switzerland; how it was shopped around (for a far lower price!) before the Getty bought it for $18 million in 1988. But much of that account is based on whispers and confidential law enforcement sources. There are conflicting aspects of the account, and the full story remains to be told. I'm hoping more details will emerge now that the statue is back home and the statute of limitations has expired on any criminal charges. In particular, it would be very important to know the precise find spot, which could then be formally excavated. But secrets have a way of staying secret in Sicily. We may never know the full truth.
Jason Felch will be signing the non-fiction book he co-authored with Ralph Frammolino, "Chasing Aphrodite, The Hunt for Looted Antiquities at the World's Richest Museum", at 7 p.m. on May 31 at Book Soup in Los Angeles.

You may read more about the trip home for the Getty goddess here on the website of Chasing Aphrodite.

April 1, 2011

Upcoming Book: "Chasing Aphrodite" to be Published by Houghton Mifflin Harcourt on May 24

by Catherine Schofield Sezgin, ARCA Blog Editor

While covering the Getty's relationship with cultural property this week ("The Getty Bronze" and the Region of Marche"), I appreciated the excellent coverage on the same subject in the Los Angeles Times by Jason Felch who, with another journalist, Ralph Frammolino, is publishing a book next month, Chasing Aphrodite, subtitled "The Hunt for Looted Antiquities at the World's Richest Museum". Attitudes toward the collecting of antiquities have evolved in the past four decades since UNESCO's 1970 Convention which asked that museums and governments stop the purchasing of looted antiquities and ask more about the provenance and context of objects, but controversy has always reigned and The Getty, a resourceful and powerful entity, in addition to being a worldwide leader in conservation, has also a murky history in regards to part of its collection which changed its leadership in the past few years.

The book, the product of five years of investigative reporting, which can be pre-ordered now through Amazon.com here, comes out on May 24 from Houghton Mifflin Harcourt. Felch and Frammolino tells the story of how officials of the J. Paul Getty Museum grappled with the question of acquiring looted Greek and Roman antiquities over 30 years, and the eventual indictment of the Getty's antiquities curator in 2005,' according to the press release. [Marion True, the indicted Getty official, had the charges dropped against her last year in Italy as the court case had dragged on for too long.]

Advance praise of the book includes a comment from Ulrich Boser, author of The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft, and Jonathan Harr, author of The Lost Painting: The Quest for a Caravaggio Masterpiece.
"A thrilling, well-researched book that offers readers a glimpse into the back-room dealings of a world-class museum--and the illegal trade of looted antiquities. Chasing Aphrodite should not be missed,” Boser wrote.
“An astonishing and penetrating look into a veiled world where beauty and art are in constant competition with greed and hypocrisy. This engaging book will cast a fresh light on many of those gleaming objects you see in art museums,” Harr wrote.
You may follow the book on Facebook or Twitter.